"Frozen Flame, 400 ft., 16mm., photographed by Edward H. Marsh and directed by Thomas J. Perry, is a dramatic industrial film featuring the Electrolux gas refrigerator. The picture details the experiences of a man and wife in buying and using the refrigerator and illustrates its sales points. The photography is remarkably good throughout and, although the treatment is simple and direct, it is extremely clear. Perhaps this picture's most outstanding quality is its continuity excellence. A well prepared scenario was so expertly followed that there are scarcely any of the minor flaws usually found in amateur dramatic pictures." Movie Makers, Dec. 1931, 658, 684.
"Sport Reel, 300 ft., 16mm., represents a remarkable degree of understanding care given to this type of picture by Charles F. Chapman, M. D. Although this picture is something more of a review than a newsreel, each of the topics presented has a local news interest. Dr. Chapman has preserved the direct and stimulating style of title wordings of the professional newsreels but, in the sequencing of scenes, he has deserted their technique for an original one. This is distinguished by a clever use of closeups to symbolize ideas and for dramatic emphasis. For example, in picturing the local baseball team, he introduces the sequence with a closeup of a row of bats lying on the ground and, when presenting the players, he cuts from a medium shot of them in action to a posed closeup preceded by a title. Further, Dr. Chapman did not forget that good composition and attractive lighting are just as welcome in newsreels as in other types of pictures." Movie Makers, Dec. 1931, 684-685.
"By Sea To Florida, 400 ft., 16mm., made by Porter Varney of Bradenton, Fla., is a film record of a sea trip which derives its importance from the fact that the photography and choice of viewpoint are consistently exceptional. Parts of the ship, such as the rigging and cordage, the portholes, the lifeboat davits, etc., were used with rare artistry as aids to composition and effect. An expert use of filters produced exceptionally pleasing and truthful black and white rendition of the sea and the movement and sway of the ship. Continuity was effectually obtained by a shifting of the camera viewpoint, emphasizing the harbor, the high seas and the arrival in Florida. A startling climax to the film was given by a series of shots of an approaching hurricane captured by Mr. Varney 's intrepid camera." Movie Makers, Dec. 1931, 685.
"In Traum Im Karneval, 1000 ft., 35mm., a distinctly new technique in cine puppet drama has been beautifully and conclusively demonstrated. Working with puppets free of distracting threads and controlled entirely from below the line of camera sight, Dr. Goldschmidt has brought to his film the fluidity and cinematic smoothness essential to a genuine photoplay. Gone are the proscenium arch and the unavoidably static feeling of photographed "theatre." Here the camera has moved freely from near shot to closeup or semicloseup as the action demands. Inserted scenes from real life, used with symbolism significant to the mood of the story, have served only to heighten the cinematic illusion, while the unusually graceful miming of the puppets amazes one with a feeling of uncanny and fantastic life. Traum Im Karneval is delicately conceived, sensitively directed and superbly photographed. Of brilliance equal to Dr. Goldschmidt's technique was the unfailing mastery of his collaborator, Richard Teschner, eminent European puppeteer." Movie Makers, Dec. 1931, 685.
"When The Red Gods Call, 1600 ft., 16mm., is noteworthy as an exceptional record of wild animal life in the great north woods and was made by W. H. Dodge. With infinite patience and camera skill, Mr. Dodge succeeded in recording the natural movements of moose, bear and other wild animal subjects and his photography under difficult conditions, as exemplified in this film, is exceptional. The results gained in many of the telephoto shots and in shots taken with fast lenses and superspeed film were made possible by a specialized cine outfit, developed by the maker of the film himself. Beautiful nature shots, as well as exceptional night and flare work, add to the original qualities of this film." Movie Makers, Dec. 1931, 685-686.
"Pets, 350 ft., 16mm., filmed by Dr. F. S. O'Hara, won its position on the list of special mention because of the many remarkably well composed closeups of family pets that it contains and because of the cameraman's patience and skill in securing many delightfully natural bits of action. Included in the film is a sequence of a cat and dog playing together. The film offers much grace and photographic beauty as well as that amazing attractiveness animals always possess on the screen." Movie Makers, Dec. 1931, 686.
"The Hero, 150 ft., 16mm., is perhaps the best of the very short, simple film stories. Its most remarkable quality is the clarity with which a fairly complicated plot is presented within the limited footage. The greatest difficulty faced by all amateur producers of film stories, short or long, is that of making the story completely clear, with the right emphasis on the introduction of characters and plot and the development of the action. In The Hero, the Silver Screen Players have overcome this problem and, in addition, have achieved fine economy of footage and action. The acting is natural and the photography excellent." Movie Makers, Dec. 1931, 686.
A short travelogue that chronicles a round trip from New York City to France and back. Includes footage of the ship’s departure from NYC, a view of the statue of liberty, the deck of the SS France ocean liner, as well as brief shots of St. Lazare station in Paris.
"Pottery and fashion design, etching and metalwork, sculpting and woodcarving, painting and still life drawing - aspiring young artists and designers in Manchester improve their skills while pursuing their career dreams in this fascinating and beautifully filmed record from the inter-war years, shot by their fellow School of Art student George Higginson." (BFI Player)
Total Pages: 299
Amateur Cinema